Friday, April 21, 2017

Join Charlie Chaplin and Jackie Coogan
for 'The Kid' on Saturday, 4/22 in Ludlow, Vt


This weekend, I bop up to Ludlow, Vt., home of Okemo Mountain.

But the ski season is over, so I'll be creating live accompaniment for a silent film program.

It's kind of similar to being on the slopes, wouldn't you say?

Featured is 'The Kid' (1921) starring Charlie Chaplin and a very young Jackie Coogan. It'll be preceded by Chaplin's short 'A Dog's Life' (1918).

I've often wanted to pair Chaplin's 'The Kid' with Buster Keaton's short comedy 'The Goat,' but once again the opportunity will slip by!

If you're in the area, come check out Chaplin's breakthrough feature—"a story with a smile, and perhaps a tear"—the way it was meant to be seen: on the big screen, with live music, and with an audience.

Showtime is 7 p.m. See you there! For more info, check out the press release below:

* * *


WEDNESDAY, MARCH 29, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Charlie Chaplin's 'The Kid' to screen on Saturday, April 22 at Ludlow Auditorium


Landmark silent film comedy/drama about Little Tramp raising an orphan to be presented with live music at historic venue

LUDLOW, Vt.—Silent film with live music returns to Ludlow Auditorium with a screening of Charlie Chaplin's classic comedy/drama 'The Kid' (1921) on Saturday, April 22 at 7 p.m.

The special program will be presented with live music by silent film accompanist Jeff Rapsis. The screening is free and open to the public.

Sponsored by FOLA (Friends of the Ludlow Auditorium), the program enables audiences to experience silent film in the way its makers originally intended: on the big screen, with live music, and with an audience.

Chaplin was already the world's most popular comedian and filmmaker when he produced 'The Kid,' his first feature-length project.

The movie, with its daring mix of intense drama and slapstick comedy, proved an instant sensation and marked one of the high points of Chaplin's long career.

'The Kid' follows the story of a tramp (Chaplin) who attempts to raise an orphaned boy on his own. It includes several classic scenes, and is highlighted by a sequence in which Chaplin battles authorities attempting to return the child to an orphanage.

Co-starring with Chaplin in 'The Kid' is five-year-old Jackie Coogan, who turned in what many critics rank as the best child performance of the entire silent film era. Chaplin himself worked closely with the young Coogan for more than a year to develop the youngster's acting abilities.

Coogan went on to a long career that much later included the role of "Uncle Fester" in the popular 1960s Addams Family television show.

The screening of 'The Kid' provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in restored prints, with live music, and with an audience.

"If you can put pieces of the experience back together again, it's surprising how these films snap back to life," said Rapsis, a New Hampshire-based silent film accompanist who creates music for silent film screenings at venues around the country. "By showing the films under the right conditions, you can really get a sense of why people first fell in love with the movies."

In creating music for silent films, Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra and creates a traditional "movie score" sound.

'The Kid' will be preceded by 'A Dog's Life' (1918), one of Chaplin's earlier short comedies that helped establish his worldwide popularity.

'The Kid' (1921) starring Charlie Chaplin and Jackie Coogan, will be screened with live music on Saturday, April 22 at 7 p.m. at Ludlow Town Hall Auditorium, 137 Depot St. in Ludlow, Vt.

The screening is sponsored by the Friends of Ludlow Auditorium. Admission is free; donations are encouraged. For more information about the FOLA and its events, visit www.fola.us or call (802) 228-7239.

CRITIC QUOTE

“Chaplin's first real feature mixes slapstick and sentiment in a winning combination, as the Tramp raises a streetwise orphan. Wonderful film launched Coogan as a major child star, and it's easy to see why.”
– Leonard Maltin's Movie Guide

Wednesday, April 12, 2017

If you like zebras, you're in luck! DeMille's 'King of Kings' on Thursday, 4/13 in Plymouth, N.H.

From 'King of Kings': the blind child before meeting you-know-who.

Hippity, hoppity, Easter's on it's way. So it's high time to resurrect a big silent Biblical epic for a screening near you.

Near you, that is, if you're near the Flying Monkey Moviehouse in Plymouth, N.H. That's where I'll be doing live music on Thursday, April 13 for a screening of 'The King of Kings,' Cecil B. DeMille's 1927 crucifixion extravaganza.

Just like the Catholic church, Cecil knew what made a good show. So whatever your feelings about Easter or religion, there's nothing quite like this mix of spirituality and showbiz schmaltz.

Plus, if you like zebras, you're in luck!

Hope you can join us in the pews of the Flying Monkey cathedral to worship the silver screen. Details in the press release below.

* * *

The Last Supper, recreated in 'The King of Kings.'

WEDNESDAY, APRIL 5, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'King of Kings’ to be screened with live music on Thursday, April 13 at Flying Monkey


The perfect prelude to Easter: 1927's silent film Biblical blockbuster about the life of Jesus features cast of thousands, giant earthquake

PLYMOUTH, N.H.—It was the original big-screen blockbuster, an epic movie on a grand scale depicting the greatest story of all: the crucifixion and resurrection of Jesus Christ. Directed by Cecil B. DeMille and featuring a cast of thousands, ‘The King of Kings’ (1927) stands as one of the sensations of Hollywood’s early days.

In honor of this year’s Easter season, a restored print of ‘The King of Kings’ will be screened with live music on Thursday, April 13 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H.

The screening is a chance to experience this landmark film as it was intended to be seen: in a high quality print on the big screen, with live music and with an audience. Live music will be performed by Jeff Rapsis, a New Hampshire-based silent film accompanist.

Tickets are $10 per person.

As a movie, ‘The King of Kings’ was designed to push the limits of Hollywood story-telling. Director DeMille, already famous for over-the-top historical epics such as the original ‘Ten Commandments’ (1923), demanded and got a then-astronomical budget of $2 million, which he used to construct massive sets, hire thousands of extras, and stage an enormous earthquake at the film’s climax.

“The monumental devastation unleashed by Christ’s crucifixion dwarfs even the cataclysmic Holy Grail finale of ‘Indiana Jones and the Last Crusade,’ ” wrote film historian Charles Musser in 1992, observing that “raw material and non-union labor gave more bang for the buck in 1927.”

The film was considered daring as the first mainstream Hollywood picture to depict the actions and life of Jesus on-screen in great detail, paving the way for future generations of filmmakers.

Although the movie’s title cards quote directly from scripture, ‘The King of Kings’ was not a scholarly depiction of scenes from the Bible. Rather, it was created to emphasize drama and conflict, prompting DeMille to change many aspects of the story as traditionally related in the New Testament Gospels. DeMille even spiced things up by including teams of zebras and other exotic non-native creatures in the film.

Because of this, 'The King of Kings' was regarded as blasphemous by some, and proved “as controversial in its day as Martin Scorsese’s ‘The Last Temptation of Christ’ was in 1988,” Musser wrote. “Although DeMille made his film under the pious supervision of clergy, he managed to titillate audiences with the same heady mixture of sex and moralism that had made...earlier films so successful.”

In just one example, DeMille opens the film with the character of Mary Magdalene leading an orgy, though she is quickly rescued from debauchery by an encounter with Jesus.

Outrage or not, audiences flocked to the 2½-hour epic, which was released in May 1927 and quickly broke box office records for attendance in the U.S. and around the globe. Audiences regarded it as grand entertainment.

The cast included early Hollywood star H.B. Warner as Jesus Christ, winning plaudits for his portrayal of the lead role. (Warner’s later roles included druggist Mr. Gower in Frank Capra’s 1946 Christmas classic ‘It’s a Wonderful Life.’) Peter is portrayed by character actor Ernest Torrence, famous as Captain Hook in the original version of ‘Peter Pan’ (1924); the role of Judas is acted by Joseph Schildkraut, already a Hollywood veteran who later went on to play Nicodemus in ‘The Greatest Story Ever Told’ (1965), a much-later Hollywood epic on the same topic.

‘The King of Kings’ was also noted for technical breakthroughs. It featured state-of-the-art movie lighting techniques, including a glowing halo that surrounded Christ whenever he appears on screen. ‘The King of Kings’ was also among the first mainstream Hollywood pictures to use color in several sequences.

Cecil B. DeMille, master showman, pioneer director, and image consultant for Jesus Christ of Nazareth.

To enhance the film’s spiritual underpinnings, during production DeMille arranged for a Catholic Mass to be celebrated each morning before shooting started. In a publicity ploy, DeMille also made his stars enter contracts that prevented them from doing anything “unbiblical” for a five-year period; prohibited activities included attending ball games, playing cards, frequenting night clubs, swimming, and riding in convertibles.

The film’s sets ended up being so massive that they simply weren’t torn down, and so wound up appearing in several other pictures. A giant gate built for ‘The King of Kings’ was later used in 1933’s ‘King Kong.’ Some of the original sets were finally lit ablaze in 1939 for the burning of Atlanta in ‘Gone with the Wind.’

Critics remain impressed by the film’s epic sweep, although they often dismiss how DeMille pandered to a mass audience. “It’s a stupendous exhibition by any standard, though you can practically smell the sawdust and greasepaint,” wrote critic Peter Matthews in 2004. “Despite the baloney (or because of it), ‘The King of Kings’ captures the fervor of naïve devotion. On that level, the movie is a genuinely uplifting experience,” Matthews wrote.

'King of Kings' will be screened with live music performed by silent film accompanist Jeff Rapsis.

Rapsis, who uses original themes to improvise silent film scores, said great silent film dramas such as 'King of Kings' used their lack of dialogue to create stories that concentrated on the "big" emotions such as Love, Despair, Anger, and Joy. Because of this, audiences continue to respond to them today, especially if they're presented as intended — with a live audience and live music.

"Dramas such as 'King of Kings' were created to be shown on the big screen as a communal experience," Rapsis said. "With an audience and live music, they still come to life as their creators intended them to," he said.

'King of Kings' is the latest in a monthly series of silent films presented with live music at the Flying Monkey. The series provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in good-looking prints, with live music, and with an audience.

Upcoming events in the Flying Monkey's silent film program include:

• Thursday, May 18, 2017, 6:30 p.m.: 'Speedway' (1929) starring William Haines, Ernest Torrance. Fasten your seat belts! We mark the traditional Memorial Day running of the Indianapolis 500 with a vintage race car drama filmed right on the famed track—at speeds topping 115 mph!

‘King of Kings’ (1927) will be shown on Thursday, April 13 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H. Admission is $10 per person. For more info, call (603) 536-2551 or visit www.flyingmonkeynh.com. For more info on the music, visit www.jeffrapsis.com.

See? I told you there were zebras!

Thursday, April 6, 2017

Keaton's 'Steamboat Bill Jr.' launches new silent series at Capitol Theatre, plus 'The Wind' on Sunday, April 9 at Somerville Theatre

Buster and Ernest Torrence in 'Steamboat Bill, Jr.'

Starting tonight, there's a new venue in the Boston area for enjoying silent films with live music and an audience.

It's the Capitol Theatre in Arlington, Mass., which is launching a new monthly series tonight (Thursday, April 6) with a screening of Buster Keaton's comedy 'Steamboat Bill, Jr.' (1928).

Showtime is 8 p.m. (and not 7:30 p.m., as I had listed earlier), the Capitol is at 204 Massachusetts Ave. in Arlington, Mass. Check it out online at http://capitoltheatreusa.com. Admission is $12 per person; $10 students/seniors.

This is the one that finds Buster caught up in a cyclone. Fittingly, the forecast this evening calls for heavy rain!

The Capitol's exterior on Mass. Ave. in Arlington.

The Capitol is sister theatre to the venerable Somerville Theatre, not far away in Davis Square in neighboring Somerville.

While the Somerville runs a monthly "Silents, Please!" program using 35mm prints, not all great silents are available in this format.

So Ian Judge, who manages the theaters, felt it would be worth starting a separate series at the Capitol for silents on other media—meaning mostly DVD transfers.

We tried a dry run at the Capitol last Halloween, when I accompanied Lon Chaney in 'The Unholy Three' (1925), a film that just isn't available in 35mm.

I'm not sure "dry" run is the right term, as it was pouring rain that evening as well.

But it was successful enough for management to greenlight a monthly mini-series of silents at the Capitol, starting this month with Keaton's 'Steamboat Bill' and running through the summer.

Here's what's also on the bill:

Thursday, May 11, 2017, 8 p.m.: "The Winning of Barbara Worth" (1926) starring Gary Cooper, Ronald Coleman, Vilma Banky. Epic Western about the settling and irrigation of California's Imperial Valley, once a wasteland but now an agricultural paradise. Shot on location by director Henry King in Nevada's Black Rock desert, one of the first films to take audiences to the wide open spaces of the great American West. With a young Gary Cooper playing a key role.

Thursday, June 22, 2017, 8 p.m.: "The Kid" (1921) starring Charlie Chaplin, Jackie Coogan. Chaplin's landmark comedy/drama about a man who raises an infant against all odds. As the film tells us: "A story with a smile, and perhaps a tear." Highlighted by amazing performance of four-year-old Coogan, who matches Chaplin pratfall for pratfall. Bonus Chaplin comedy: "A Dog's Life" (1918).

Thursday, July 6, 2017, 8 p.m.: "The Lost World" (1925) starring Wallace Beery, Bessie Love. First-ever movie adaptation of Arthur Conan Doyle's legendary tale of British explorers who discover pre-historic creatures still thriving atop a remote South American plateau. Great entertainment; ground-breaking special effects by the same team that later created 'King Kong' mesmerized early movie audiences and remain impressive today.

Thursday, Aug. 3, 2017, 8 p.m.: "Grandma's Boy" (1922) starring Harold Lloyd, Mildred Davis. A cowardly young man must learn to conquer his fears before dealing with a larger menace to his community. Riotous small town comedy that helped propel Harold Lloyd into the most popular movie comedian of the 1920s. Bonus Lloyd short comedy: "Never Weaken" (1921).

One bonus for me: the family-oriented Capitol (which even has baby-friendly matinees) has its own in-house ice cream shop, the Capitol Creamery, in the theater lobby.

Can you guess where you'll find me before the show?


Speaking of the Somerville Theatre: after a few months of, well, silence, the 'Silents, Please!' series restarts on Sunday, April 9 with Lillian Gish in 'The Wind' (1928).

Showtime is 2 p.m. The theater is in Davis Square in Somerville, Mass.; admission is $15 per person, $12 students/seniors.

A chance to see this legendary film in 35mm with an audience in a theater is an experience not to be missed.

It's especially worth seeing because for some reason, MGM hasn't released 'The Wind' in any format for home viewing since a version came out on laser disc back in the late 1980s!

So other than firing up the laser disc player, the only way to experience 'The Wind' is just like when the film was released in 1928: by going to the theater.

For more details on 'The Wind' and other upcoming 'Silents, Please!' screenings, here's the press release that went out about the screening:

* * *

Lillian Gish in 'The Wind.'

WEDNESDAY, MARCH 22, 2017 — FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Somerville Theatre announces 2017 'Silents, Please!' series


Starting with 'The Wind' (1928) on Sunday, April 9; monthly screenings of silent film masterworks shown in 35mm with live music scoring

SOMERVILLE, Mass.—Great films that caused early audiences to first fall in love with the movies will once again grace the big screen in this year's 'Silents, Please!' series at the Somerville Theatre.

The series features monthly screenings of legendary titles shown as originally intended: in 35mm on the big screen, in a real movie theatre with an audience, and with live musical scoring.

Upcoming titles in the 2017 season include Eric von Stroheim's epic drama 'Greed' (1924); Harold Lloyd in 'Safety Last' (1923); and the recently rediscovered original big screen adaptation of 'Sherlock Holmes' (1916).

"With silent film, if you put all the pieces back together again, you can really understand why people found early movies so entertaining," said Ian Judge, the Somerville's general manager.

All films in the series are shown via archival 35mm prints—the original format for theatrical movies. Today, 35mm prints of films are often very difficult to obtain and screen properly.

Live music for each program is provided by New Hampshire-based silent film accompanist Jeff Rapsis.

First up in the series is Lillian Gish in 'The Wind' (1928), an intense MGM drama often rated as one of the best films from any era.

In 'The Wind,' Gish plays a frail young woman from the east moves in with her cousin in the west, where she causes tension within the family and is slowly driven mad while in an isolated cabin.

'The Wind,' directed by Victor Seastrom, will be screened on Sunday, April 9 at 2 p.m. General admission is $15 per person/$12 student and seniors.

Additional titles in the Somerville's 2017 'Silents, Please!' series include:

Sunday, May 14, 2017, 2 p.m.: 'Greed' (1924), directed by Erich von Stroheim. Legendary director Von Stroheim's great masterpiece brought silent film drama to new heights of intensity, and also inspired huge behind-the-scenes battle over control of final cut. Rare chance to see this film in 35mm on the big screen with live music.

Sunday, June 18, 2017, 2 p.m.: 'So This Is Paris' (1926). If you like your 1920s sex comedies light and frothy, then director Ernst Lubitsch is your guy. This madcap romp, set among the sophisticated elite in the City of Light, buzzes with energy on the dance floor and elsewhere. Plus it helped popularize the Charleston!

Sunday, July 9, 2017, 2 p.m.: 'Safety Last' (1923). Ambitious young Harold Lloyd heads from small town to big city to make his fortune, with unexpected results. The iconic image of Lloyd dangling from the hands of a downtown clock is only one small piece of a remarkable thrill comedy that has lost none of its power over audiences.

Sunday, Aug. 27, 2017, 2 p.m.: 'Get Your Man' (1927) starring Clara Bow, Buddy Rogers. Long-lost Clara Bow feature only recently rescued and restored by the Library of Congress. Bow is Nancy Worthington, a liberated (of course) American in Paris who meets cute with French nobleman Robert Albin (Rogers) while on vacation by herself. Robert and Nancy fall hard for each other, but an arranged, politically motivated marriage stands in their way. Nancy scams her way onto the family estate, and complications ensue.

Sunday, Sept. 10, 2017, 2 p.m.: 'Sherlock Holmes' (1916) starring William Gillette. Recently discovered in France after being lost for nearly a century, see this original 1916 adaptation of Sherlock Holmes stories as performed by William Gillette, the actor who created the role on stage. Holmes does battle with arch-rival Prof. Moriarty in an amalgam of several stories by Sir Arthur Conan Doyle.

All screenings will be via 35mm prints and with live musical scoring created by New Hampshire silent film accompanist Jeff Rapsis. Rapsis achieves a traditional "movie score" sound for silent film screenings by using a digital synthesizer to reproduce the texture of the full orchestra.

'The Wind' will be screened in 35mm with live music on Sunday, April 9 at 2 p.m. at the Somerville Theater, 55 Davis Square, Somerville, Mass. Admission is $15 adults, $12 students/seniors; general admission seating. For more information, call (617) 625-5700 or visit www.somervilletheatre.com. For more info on the music, visit www.jeffrapsis.com.

Friday, March 31, 2017

This weekend: Buster Keaton's 'Cameraman'
in the country, then 'Peter Pan' in the city

This weekend's venues for silent film cover a wide range: a Catholic college in rural New Hampshire, and then a hipster brewery in urban Boston.

On Saturday night, it's Keaton's 'The Cameraman' (1928) at Northeast Catholic College way up in Warner, N.H.

And then on Sunday, it's the original silent film adaptation of 'Peter Pan' (1924) at the Aeronaut Brewing Co. in Somerville, Mass.

Our part of New England is getting a good amount of snow now through Saturday. But that shouldn't impede this pair of silent film shows.

One nice thing about this weekend's screenings has been the publicity.

I always send out press materials, but you never know what will be used, and when, and how.

For this weekend, I've lucked out with some good coverage.

For the Keaton screening, the Concord (N.H.) Monitor, a highly respected daily paper, devoted quite a bit of space to this story. Thanks!

And for the Aeronaut 'Peter Pan' screening, writer Sean Burns did a great job pulling together a fairly lengthy piece, especially by Metro standards.

Also, here's a screen capture of the story in the print edition:


So whether it's country-style silent film you crave, or if you prefer a more urban setting, there's something for every taste this weekend.

Press releases for both films (with a lot more info) are pasted in below. See, I really do send out press materials!

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An original poster for Keaton's 'The Cameraman' (1928), running on April Fool's Day (Saturday, April 1) at Northeast Catholic College.

TUESDAY, MARCH 14, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Buster Keaton's 'The Cameraman' at Northeast Catholic on Saturday, April 1


Classic silent film comedy masterpiece to be screened with live music; program open to the public

WARNER, N.H. — Silent film with live music returns to the big screen at Northeast Catholic College in April with a showing of an acclaimed comedy starring Buster Keaton.

The screening, on Saturday, April 1 at 7 p.m., will feature Keaton's classic comedy 'The Cameraman' (1928). Admission is free for Northeast Catholic students and any others with college ID; general public admission is $5 per person

Live music will be provided by silent film accompanist Jeff Rapsis. The program will include a short comedy, 'Cops,' also starring Buster Keaton.

'The Cameraman' tells the story of a young man (Keaton) who tries to impress the girl of his dreams (Marceline Day) by working as a freelance newsreel cameraman. His efforts result in spectacular failure, but then a lucky break gives him an unexpected chance to make his mark. Can he parlay the scoop of the year into a secure job and successful romance?

Buster Keaton's self-referential world of 'The Cameraman.'

In 'The Cameraman,' Keaton uses the movie business to create comedy that plays with the nature of film and reality. The movie contains classic sequences often cited as among Keaton's best.

Keaton, along with Charlie Chaplin and Harold Lloyd, stands as one of the three great clowns of the silent screen. Many critics regard Keaton as the best of all; Roger Ebert wrote in 2002 that "in an extraordinary period from 1920 to 1929, (Keaton) worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."

As a performer, Keaton was uniquely suited to the demands of silent comedy. Born in 1895, he made his stage debut as a toddler, joining his family's knockabout vaudeville act and learning to take falls and do acrobatic stunts at an early age. He spent his entire childhood and adolescence on stage, attending school for exactly one day.

A remarkable pantomime artist, Keaton naturally used his whole body to communicate emotions ranging from sadness to surprise. In an era when movies had few special effects, Keaton's acrobatic talents meant he performed all his own stunts.

All those talents are on display in 'The Cameraman,' which was selected in 2005 for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

'The Cameraman' will be accompanied by live music by Jeff Rapsis, a New England-based silent film accompanist who performs at venues across the region and beyond.

"These films were created to be shown on the big screen as a sort of communal experience," Rapsis said. "With an audience and live music, they still come to life in the way their makers intended them to.

"So the screening at Northeast Catholic College is a great chance to experience films that first caused people to first fall in love with the movies," he said.

Established as a residential, Catholic liberal arts college in 1973 and located in Warner, N.H., the Northeast Catholic College (formerly the College of Saint Mary Magdalen) seeks to call students to the life-long pursuit of intellectual and moral virtue through the rigorous study and discussion of primary texts and through its vibrantly Catholic student life.

Buster Keaton's 'The Cameraman' (1928) will be screened with live music on Saturday, April 1 at 7 p.m. at Northeast Catholic College (formerly Magdalen College), 511 Kearsarge Mountain Road, Warner, N.H. Admission is free to students with a college ID; general public is $5 per person.

For more information about Northeast Catholic College, visit www.northeastcatholic.edu/ For more info on the music, visit www.jeffrapsis.com.

* * *

An original poster for the original screen adaptation of 'Peter Pan' (1924).

WEDNESDAY, MARCH 22, 2017 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film version of 'Peter Pan' at Aeronaut on Sunday, April 2


Original adaptation of magical fantasy classic to be shown with live musical score

SOMERVILLE, Mass.—It was the film that introduced movie-goers to visions of flying children, magical fairies, human-like animals and menacing pirates.

It was the original silent film adaptation of 'Peter Pan,' a picture personally supervised by author J.M. Barrie. The film was a major hit when released in 1924, with audiences eager to get their first big-screen look at the wonders of Neverland.

Movie fans can see for themselves when the first 'Peter Pan' (1924) is screened on Sunday, April 2 at 7 p.m. at the Aeronaut Brewing Co., 14 Tyler St., Somerville.

The program will feature live music for the movie by silent film accompanist Jeff Rapsis, and will include a classic silent comedy short film. Admission is $10 per person. Tickets are available online at www.eventbrite.com; search on "Aeronaut Brewery."

Thought lost for many years, and overshadowed by more recent adaptations, the original silent 'Peter Pan' maintains its freshness and charm 90 years after its original release.

In the story, first presented as a stage play in 1904, three children in London are visited one night by Peter Pan, a youth in search of his shadow. Pan shows his new friends how to fly, and then convinces them to join him in a journey to Neverland.

There they encounter Indians, mermaids, and a band of pirates whose leader, Captain Hook, is Pan's sworn enemy. The children are captured by Hook and taken prisoner aboard his pirate ship, setting the stage for an epic battle, the outcome of which will determine if the children may ever return home.

Betty Bronson in the title role.

Though the Peter Pan story is well-known today due to subsequent adaptations (and also merchandising that includes a ubiquitous brand of peanut butter), the tale was virtually new when Hollywood first brought it to film in the early 1920s.

In England, author Barrie gave his blessing to the first-ever screen adaptation, though he retained control over casting and insisted that any written titles in the film be taken directly from his own text.

After a major talent search, Barrie settled on unknown 18-year-old actress Betty Bronson for the title role, and filming began in 1924. The role of Captain Hook was played by noted character actor Ernest Torrence, who invented the now-iconic villainous pirate persona that would become a Hollywood legend.

The film's highlights include special effects that maintain their ability to dazzle even today. The film's memorable images include a group of mermaids entering the sea, a miniature Tinkerbell interacting with full-sized children and adults, and a pirate ship lifting out of the water and taking flight.

'Peter Pan' also includes a cast of animal characters played by humans in costume, including the family dog Nana and an alligator who serves as Hook's nemesis, lending the film a magical quality.

After the film's release, no copies of the original 'Peter Pan' were known to exist, and for many years the film was regarded as lost. However, in the 1950s a single surviving print turned up in the George Eastman Archives in Rochester, N.Y., from which all copies today have descended.

Accompanist Jeff Rapsis specializes in creating live musical scores for films made prior to the introduction of recorded sound. Based in New Hampshire, Rapsis specializes in improvising music for silent film screenings at venues ranging from Harvard University in Cambridge, Mass. to the Niles Essanay Silent Film Museum in San Francisco, Calif.

Rapsis creates film scores in real time, as a movie is running, using a digital synthesizer to reproduce the texture of a full orchestra. He averages about 100 performances per year, and has created music for more than 250 different silent feature films.

"Improvising a movie score is a bit of a high wire act, but it can result in music that fits a film's mood and action better than anything that can be written down in advance," Rapsis said. "It also lends a sense of excitement and adventure to the screening, as no two performances are exactly alike."

The screening is part of the Aeronaut's commitment to give local artists and audiences a chance to connect in the brewery's performance space.

Just as beer aficionados appreciate a good hand-crafted brew, movie-goers are rediscovering the joys of silent cinema presented as it was intended: on a big screen, with live music, and with an audience.

"If you can put all the original elements together, the films of early Hollywood still come to life," said Rapsis, who performs regularly at the Aeronaut. "These are the films that caused people to first fall in love with the movies."

‘Peter Pan’ (1924) will be shown on Sunday, April 2 at 7 p.m. at the Aeronaut Brewing Co., 14 Tyler St., Somerville, Mass. Admission is $10 per person. Tickets are available online at www.eventbrite.com; search on "Aeronaut Brewery." For more info about Aeronaut Brewing, visit www.aeronautbrewing.com. For more information about the music, visit www.jeffrapsis.com.


Saturday, March 25, 2017

Oliver Hardy plays the Tin Man, and other reasons to see the silent 'Wizard of Oz' (1925)

We're off to see the 'Wizard'—but not the one with Judy Garland in it.

Probably the most-requested silent film title I get is the 1925 version of 'The Wizard of Oz.'

Oz fans (and there are many) seem especially eager to see this early big-screen adaptation of the beloved fantasy.

And so far I've resisted.

Why? Because I've felt this version of the tale, concocted by comedian Larry Semon, can't help but disappoint audiences, and also reinforces stereotypes of silent film at its worst.

Held up against a familiar Hollywood classic, the 1925 'Wizard of Oz' not only can't compete, but diminishes the whole era that produced it.

So I've managed to avoid it for quite some time.

Until now. Tomorrow (Sunday, March 26) at 4:30 p.m., the Wilton (N.H.) Town Hall Theatre will run Semon's 'Wizard of Oz,' with music by me.

Expect a thoroughly Judy-Garland-free screening, with Dorothy played by Semon's wife Dorothy Dwan, Semon as the scarecrow, and yes, Semon's then-sidekick Oliver Hardy playing the Tin Man.

And that's about all the silent 'Wizard' has in common with Frank L. Baum's well-loved tale. Semon basically used the material as a jumping off point to create his specialty: cartoonish slapstick mayhem.

Larry Semon, Dorothy Dwan, and Oliver Hardy in the 1925 'Wizard of Oz.'

Audiences at the time didn't know what to make of Semon's 'Wizard.' With years of exposure to the 1939 MGM version, I can't imagine what viewers today will think.

Well, we'll find out soon enough. If you'd like to judge for yourself, please attend! More details are contained in the press release pasted below.

Before that, I want to thank Jessica Pappathan and everyone at the Aviation Museum of N.H. for inviting me in for a silent film program on Friday, March 24.

On the bill: a double feature of two obscure aviation thrillers, each full of aerial acrobatics and daring stunt pilot work.

'The Phantom Flyer' (1928), a Universal "Thrill Picture," which marries airplane derring-do with a melodramatic plot, got an especially big response.

And people readily cheered Champion the Dog in 'Sky Rider' (1928) as time and again he outsmarted all the humans in the picture.

Neither of these pictures are celebrated as classics or studied in film schools.

But run them on a big screen with live music and a receptive audience, and they still do what they were designed to do: keep eyes glued to the screen and stir a crowd to a frenzy.

I think part of the formula is matching the right pictures to the right audiences. In this cause, for a program at an aviation museum, vintage airplane melodramas were a natural.

I'll do a similar program in May at the Flying Monkey Moviehouse in Plymouth, N.H. To mark the annual Memorial Day running of the Indy 500, we're running the MGM drama 'Speedway' (1929), starring William Haines and Ernest Torrence.

The film was made on location at the actual Indianapolis 500 track, and is filled with scenes of period race cars zipping along at astonishing speeds of 90 mph or more!

And we're doing it at the request of a group of antique car enthusiasts, who are planning to hold their regular business meeting in the theater prior to the show.

So in programming these films, part of the fun is matching the right film with the right audience. It's great it happens!

Okay, here's more info on the silent film version of 'The Wizard of Oz' (1925), which we're running tomorrow in Wilton, N.H. Hope to see you there!

* * *

Larry Semon as the Scarecrow.

WEDNESDAY, MARCH 15, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rare silent film version of 'Wizard of Oz' at Town Hall Theatre on Sunday, March 26

Feature-length Oz epic released in 1925 includes comedian Oliver Hardy as the Tin Man; to be screened with live music

WILTON, N.H. — You won't find Judy Garland in this version of Oz, or much of anything else that's familiar. That's because it's the forgotten 1925 silent film version of the famous tale.

Long overshadowed by the immensely popular 1939 remake, the rarely seen silent version of 'The Wizard of Oz' (1925) will be screened one time only on Sunday, March 26 at 4:30 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

The program, which will include an earlier short Oz film also based on stories and characters of author L. Frank Baum, will be accompanied by Jeff Rapsis, a New Hampshire-based silent film musician.

The silent version, released by Chadwick Pictures, was intended as a vehicle for slapstick comedian Larry Semon, who directed the picture and played the role of the scarecrow.

Dorothy is played by Dorothy Dwan, Semon's wife. Also in the cast is Oliver Hardy as the Tin Man. Prior to his teaming with comedian Stan Laurel later in the 1920s, Hardy often played Semon's comic foil.

The silent 'Wizard of Oz' bears little resemblance to the highly polished MGM musical released just 14 years later. However, due to the enduring worldwide popularity of Baum's 'Oz' characters and stories, the silent 'Wizard of Oz' remains an object of great curiosity among fans.

The film departs radically from the novel upon which it is based, introducing new characters and exploits. Along with a completely different plot, the film is all set in a world that is only barely recognizable as the Land of Oz from the books. The film focuses mainly upon Semon's character, who is analogous to Ray Bolger's Scarecrow character in the 1939 version.

The major departure from the book and film is that the Scarecrow, the Tin Man, and the Cowardly Lion are not actually characters, but are in fact disguises donned by three farm hands who find themselves swept into Oz by a tornado. Dorothy is here played by Dorothy Dwan — Semon's wife - as a young woman. In a drastic departure from the original book, the Tin Man (played by Oliver Hardy) is a villain.

Some elements of the narrative have their roots in earlier adaptations of The Wizard of Oz. For example, Prime Minister Kruel has a predecessor in King Krewl, the antagonist of His Majesty, the Scarecrow of Oz. The note explaining Princess Dorothea's true heritage is signed "Pastoria", a name used for the exiled King of Oz in the 1902 stage version of The Wizard of Oz and for the father of Princess Ozma in The Marvelous Land of Oz and later Oz books.

Legend has it that Semon's version of 'Wizard' was so poorly received, Chadwick Studios was forced to file for bankruptcy while the picture was in theaters. In truth, the picture was a modest success, and Chadwick continued to release films through 1928, when the studio shut down prior to the industry's switch to synchronized sound.

Accompanist Jeff Rapsis specializes in creating music that bridges the gap between an older film and the expectations of today's audiences. Using a digital synthesizer that recreates the texture of a full orchestra, he improvises scores in real time as a movie unfolds, so that the music for no two screenings is the same.

"It's kind of a high wire act, but it helps create an emotional energy that's part of the silent film experience," Rapsis said. "It's easier to be in tune with the emotional line of the movie and the audience's reaction when I'm able to follow what's on screen, rather than be buried in sheet music," he said.

Because silent films were designed to be shown to large audiences in theaters with live music, the best way to experience them is to recreate the conditions in which they were first shown, Rapsis said.

"Films such as 'The Wizard of Oz' were created to be shown on the big screen to large audiences as a communal experience," Rapsis said. "With an audience and live music, silent films come to life in the way their makers intended. Not only are they entertaining, but they give today's audiences a chance to understand what caused people to first fall in love with the movies."

The silent version of 'The Wizard of Oz' (1925) and other Oz-related silent films will be shown on Sunday, March 26 at 4:30 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

Admission is free; a donation of $5 per person is suggested to help defray expenses. For more info, visit www.wiltontownhalltheatre.com or call (603) 654-3456.

Thursday, March 23, 2017

This Friday: Airborne thrills, spills, and chills
in double feature of vintage aviation dramas!


For me, one of the greatest pleasures in exploring the silent film era is discovering movies that are totally forgotten, have little or no artistic merit, but which still hold an audience like nobody's business.

Time and time again, I'm astonished at how some low-rent picture can spring to life when shown in front of a group of people with live music. It's like long ago filmmakers are reaching across the decades to show they still have the stuff.

If that sounds like your idea of a good time, then I encourage you to attend a program on Friday, March 24 at the Aviation Museum of New Hampshire.

That night, I'm accompanying a double-feature of two aviation melodramas—films you've never heard of, but which are packed with the thrills, spills, and chills of early airplane derring-do.

The two pictures: 'The Phantom Flyer' (1928) starring stunt flyer Al Wilson, and 'The Sky Rider' (19280, starring Champion the Wonder Dog.

See, I was right—you'd never heard of either of them. But what an experience awaits for those who can come to enjoy this cinematic time capsule!

Both pictures were made to capitalize on interest in the new field of aviation, so they're filled with vintage aircraft, airports, and so on.

But they're also built on refreshingly simple stories where people are either all good or all bad, and so letting yourself get swept up in something so grounded (odd for aviation dramas) can be kind of cathartic.

Also, we all like the satisfaction of seeing the good guys (and gals) win, and for the baddies to get punished.

So hope you can join us for what promises to be a fun program. As a bonus, the museum is on the grounds of Manchester-Boston Regional Airport, and we'll be watching the films mere yards from an active runway!

Start time is 7 p.m. More info in the press release below. See you there!

* * *


TUESDAY, MARCH 14, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Aviation Museum of N.H. to screen rare 'daredevil' early biplane melodramas


Program of vintage rip-roaring early aviation films accompanied by live music to be shown Friday, March 24

LONDONDERRY, N.H.—Join fellow flyboys and flygals for a program of rarely seen vintage silent melodramas featuring 1920s biplane action, all accompanied by live music.

The "Dare-Devil Aviation Double Feature" takes off on Friday, March 24 at 7 p.m. in the exhibit space of the Aviation Museum of N.H. at 27 Navigator Road, Londonderry. A cash bar reception will open at 6 p.m.

Tickets are $15 for museum members, and $20 for non-members. Tickets may be purchased online at www.aviationmuseumofnh.org.

The screening will feature live music by New Hampshire-based silent film accompanist Jeff Rapsis, a New England based composer who specializes in creating music for silent film presentations.

The show will allow audiences to experience silent film the way its makers originally intended: on the big screen, with live music, and with an audience.

In 'The Phantom Flyer' (1928) famous stunt flyer Al Wilson portrays a border patrol aviator who must use his pilot skills to save girlfriend Mary (Lillian Gilmore) from cattle rustlers.

And in 'The Sky Rider' (1928), join Champion the Wonder Dog as he flies along with his master Dick to foil the plot of a disinherited nephew to get even with—well, it's complicated!

Come see for yourself as the Museum recreates the silent film experience (planes included) that caused people to first fall in love with the movies: the big screen, live music, and an audience to get riled up about it all.

And all this in a hanger-like space right alongside Runway 17-35 at Manchester-Boston Regional Airport.

The event is sponsored by Hearthside Realty in Manchester.

"We had such a good response to our screening of the classic silent film 'Wings' last November that we wanted to do a follow-up program to screen more early aviation dramas," said Jessica Pappathan, the museum's executive director.

Rapsis, a composer who specializes in film music, will create scores for the two movies on the spot, improvising the music as the movie unfolds to enhance the on-screen action as well as respond to audience reactions.

Rapsis performs the music on a digital synthesizer, which is capable of producing a wide range of theatre organ and orchestral textures.

"Live music was an integral part of the silent film experience," Rapsis said. "At the time, most films weren't released with sheet music or scores. Studios relied on local musicians to come up with an effective score that was different in every theater. At its best, this approach created an energy and a connection that added a great deal to a film's impact. That's what I try to recreate," Rapsis said.

‘The Phantom Flyer’ (1928) and 'The Sky Rider' (1928) will be shown with live music on Friday, March 24 at 7 p.m. at the Aviation Museum of N.H., 27 Navigator Road, Londonderry. Tickets are $15 for museum members, and $20 for non-members. Tickets may be purchased online at www.aviationmuseumofnh.org. For information, contact the museum at (603) 669-4820. For more about the music, visit www.jeffrapsis.com.

Monday, March 20, 2017

Coming up: 'The Passion of Joan of Arc'
on Wednesday, March 22 at Rogers Center

Maria Falconetti in 'The Passion of Joan of Arc.'

I hope you'll join us on Wednesday this week for a movie that will change your mind about silent film.

It's 'The Passion of Joan of Arc' (1928), a feature from Danish director Carl Dreyer. I'm doing music for it on Wednesday, March 22 at the Rogers Center for the Arts in North Andover, Mass.

Why will this change your mind about silent film?

Because more than any other film I can think of from that era, it demonstrates how cinema (a brand new art form at the time) had qualities that were distinct from other art forms that came before it.

And it did all this without dialogue or a sound track. It did this through images alone.

In doing so, Dreyer's film hinted at the true potential for this new art form in its purest state, meaning a story told through pictures that moved.

Alas, a cinema of images (and without dialogue) was already in the process of being swept aside by cinema with synchronized dialogue, sound, and effects.

But still, Dreyer was able to give us a sense of what was possible, even without all these added attractions. And in that sense, he helped change my mind about silent film, and I hope 'Joan of Arc' has the same effect on you.

To find out, come see it! Showtime is 7 p.m. at the Rogers Center, which is on the campus of Merrimack College in North Andover, Mass.

And if all that's not enough, how about this? Admission is free!

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An original poster for Carl Dreyer's 'The Passion of Joan of Arc' (1928).

FRIDAY, MARCH 17, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rediscovered silent religious drama to be shown at Rogers Center for the Arts on Wednesday, March 22


'The Passion of Joan of Arc' (1928), long thought lost until a copy was found in Norway, to be screened with live music

NORTH ANDOVER, Mass.—A ground-breaking European feature film—considered lost for decades until a copy surfaced in Oslo, Norway—will soon return to the big screen at the Rogers Center for the Arts.

'The Passion of Joan of Arc' (1928), a film noted for its innovative camera work and an acclaimed performance by actress Maria Falconetti, will be screened on Wednesday, March 22 at 7 p.m. as part of the Tambakos Film Series at the Rogers Center for the Arts in North Andover, Mass.

Admission is free and the program is open to the public. Live music for the movie will be provided by silent film accompanist Jeff Rapsis.

Directed by Denmark's Carl Theodor Dreyer, 'The Passion of Joan of Arc' chronicles the trial of Jeanne d'Arc on charges of heresy, and the efforts of her ecclesiastical jurists to force Jeanne to recant her claims of holy visions.

The film’s courtroom scenes are shot almost exclusively in close-up, situating all the film’s meaning and drama in the slightest movements of its protagonist’s face.

Of Falconetti's performance in the title role, critic Pauline Kael wrote that her portrayal "may be the finest performance ever recorded on film." Her performance was ranked 26th in Premiere Magazine's 100 Greatest Performances of All Time, the highest of any silent performance on the list. Falconetti, a legendary French stage actress, made only two films during her career.

The film has a history of controversy. The premiere of 'The Passion of Joan of Arc' in Paris on Oct. 25, 1928 was delayed because of the longtime efforts of many French nationalists, who objected to the fact that Dreyer was not Catholic and not French and to the then-rumored casting of Lillian Gish as Joan.

Before the premiere, several cuts were made by order of the Archbishop of Paris and by government censors. Dreyer had no say in these cuts and was angry about them. Later that year, a fire at UFA studios in Berlin destroyed the film's original negative and only a few copies of Dreyer's original cut of the film existed.

Dreyer was able to patch together a new version of his original cut using alternate takes not initially used. This version was also destroyed in a lab fire in 1929. Over the years it became hard to find copies of Dreyer's second version and even harder to find copies of the original version of the film.

It was banned in Britain for its portrayal of crude English soldiers who mock and torment Joan in scenes that mirror Biblical accounts of Christ's mocking at the hands of Roman soldiers. The Archbishop of Paris was also critical, demanding changes be made to the film.

'The Passion of Joan of Arc' was released near the end of the silent film era. About 70 percent of all movies made during that time are now lost due to decomposition, carelessness, fire, or neglect. But copies of "missing" films still occasionally turn up in archives and collections around the world, so researchers and archivists continue to make discoveries.

In the case of 'The Passion of Joan of Arc,' the original version of the film was lost for decades after a fire destroyed the master negative. In 1981, an employee of the Kikemark Sykehus mental institution in Oslo, Norway found several film cans in a janitor's closet that were labeled as being The Passion of Joan of Arc.

The cans were sent to the Norwegian Film Institute where they were first stored for three years until finally being examined. It was then discovered that the prints were of Dreyer's original cut of the film before government or church censorship had taken place. No records exist of the film being shipped to Oslo, but film historians believe that the then-director of the institution may have requested a special copy.

For 'The Passion of Joan of Arc,' Rapsis will improvise a score from original musical material that he creates beforehand, using a digital synthesizer to recreate the sound and texture of a full orchestra.

"What I try to do," Rapsis said, "is create music that bridges the gap between a film that might be 80 or 90 years old, and the musical expectations of today's audiences."

'The Passion of Joan of Arc' continues another season of silent films presented with live music at the Rogers. The series provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in good-looking prints, with live music, and with an audience.

“These films are still exciting experiences if you can show them as they were designed to be screened,” said Rapsis, accompanist for the screenings.

'The Passion of Joan of Arc' will be shown on Wednesday, March 22 at 7 p.m. as part of the Tambakos Film Series at the Rogers Center for the Arts, Merrimack College, 315 North Turnpike St., North Andover, Mass.

Admission is free and the program is open to the public. For more information, call the Rogers box office at (978) 837-5355 or visit www.merrimack.edu/rogers.

Friday, March 17, 2017

Weekend update: Buster Keaton in a church,
then Lon Chaney's 'Phantom' in a Grange Hall

Tonight: Come see 'The Cameraman' in Concord Center, Mass.

After a month that took me to such far-flung venues as the Kennington Bioscope in London, the Orpheum Theatre in Sioux City, Iowa, and the Cleveland Museum of Art, it's back to silent film accompaniment reality.

Consider: the locations for this weekend's screenings are a church in suburban Boston, and then a Grange Hall in rural New Hampshire.

But that's where most of my screenings happen—at places no more than a few hours from home base.

And that pattern resumes this weekend with a Buster Keaton program tonight (Friday, March 17) at the Trinitarian Congregational Church in Concord, Mass., and then Lon Chaney in 'The Phantom of the Opera' (1925) on Saturday night at the Blazing Star Grange Hall in Danbury, N.H.

Complete info on each show is on the Upcoming Screenings page (link at right), or in the summaries below:

• Friday, March 17, 2017, 7 p.m.: "Sherlock Jr." (1924) and "The Cameraman" (1928) starring Buster Keaton; Trinitarian Congregational Church, 54 Walden St., Concord Center, Mass.
978-369-4837. Tonight's program features Buster Keaton in a pair of his great starring films, both centering on the subject of movies themselves. In 'Sherlock Jr.,' Buster breeches the fourth wall big-time as a movie projectionist who dreams himself into a crime thriller In 'The Cameraman,' to impress the girl of his dreams, mild-mannered portrait photographer Buster takes up the glamorous profession of newsreel cameraman. One of the best comedies of the silent era. The film program is open to the public; $5 per person admission.

Halloween in March: 'The Phantom of the Opera' (1925) screens on Saturday night in Danbury, N.H.

• Saturday, March 18, 2017, 7 p.m.: Silent Film Program: Halloween in March! at the Blazing Star Grange Hall, North Road in Danbury, N.H. You've heard of "Christmas in July?" Well, welcome to "Halloween in March," a program of spooky silent film with live music presented by the local Grange chapter. Rumor has it the main attraction will be Lon Chaney in 'Phantom of the Opera' (1925), but check back for details. Free and open to the public; suggested donation of $5 at the door.

I've been doing local programs such as these for almost 10 years now. Why?

For one thing, I've found the only way I could really learn how to do silent film accompaniment was to really do it.

And that means for real, in real time, and in front of an audience.

No bathroom breaks, no trips to the fridge, no letting dogs in or out, no breaking concentration, all of which seem to happen when you're doing it on your own at home.

Also, I've found that challenging myself to create so much music under these conditions has enabled me, bit by bit, to work out a kind of musical language that I can call my own.

That's huge, because it's given me a vocabulary to begin putting music together that I feel reflects my—well, whatever it is I have to offer.

The results of this process are beginning to show up in written-out pieces such as the 'Kilimanjaro Suite' that the New Hampshire Philharmonic recently played.

More projects are in the works. So it's a very exciting time for me—as long as I can find time to get done all I hope to do.

But none of it would be happening, I'm sure, if I hadn't sat down and accompanied literally hundreds of silent films in the past 10 years or so.

And the process, such as it is, continues this weekend. Hope to see you, either at the church or at the Grange Hall. Or both!

Wednesday, March 15, 2017

This Thursday: Gloria Swanson in a silent film
that accidentally created a new art form

Gloria and Lionel warming up for their big battle in 'Sadie Thompson.'

Up next: Gloria Swanson and Lionel Barrymore in 'Sadie Thompson' (1928), an intense drama made in Hollywood's final burst of silent film production.

It's screening on Thursday, March 16 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H.

Admission is $10 per person.

There's a lot to like about this movie, which many feel contains Swanson's best performance. It may be.

But structurally, there's something very special about 'Sadie Thompson,' the story of which was adapted from Somerset Maughan's story 'Rain.'

What's special? Nothing that the people who made it intended to happen, but it's this: we're missing the last reel!

Yes—the last 10 minutes, which contain the climax, just don't exist.

And so, by accident, we have a situation that leads to an experience very different from what the filmmakers had in mind.

It would be great to have the footage, of course, and see what really happens when the battle between Gloria's fallen woman and Barrymore's tempted preacher reaches a boiling point.

But we don't. And unless the last reel is ever found, we can't.

Instead, we have what often happens when a vintage film exists with missing sequences. Stills and other materials are substituted, and the story is told through narrative titles and other techniques such as pan-and-scan of stills.

With about 70 percent of silent film missing, this happens more often than you might think. Among big films that I've accompanied that are missing entire reels are Raymond Griffith's 'Paths to Paradise' (1925); King Vidor's 'Bardelys the Magnificent' (1926), and Clara Bow's 'Get Your Man' (1927).

And you know what? In each case, I've found that such efforts to fill in missing film with other materials creates a kind of hybrid art form that can actually be quite effective in its own way.

Mainly, I think, because it leaves scenes to the imagination, which engages an audience in a completely different way that if everything's right there on the screen.

In pondering this, I've come to think this is not unlike what happens with other art from the past when things go missing.

Take the Venus de Milo, which lacks arms. Or Schubert's unfinished symphony, short by two movements.

And much of my public school education took place under the watchful eye of George Washington as depicted in Gilbert Stuart's famous unfinished painting.

Some critics feel such losses can actually enhance the stature of the work of art in question.

How? Because we don't know what the arms on the Venus de Milo look like, we're free to idealize them to a state of perfection—one that goes way beyond what any artist could actually achieve.

And that's because the absence allows us each to fill in our own personal visions of perfection. Such notions that are unique to us, and are thus uniquely gratifying or satisfying.

Gloria with director Raoul Walsh, who appears in 'Sadie Thompson' as "Handsome" Tim O'Hara.

Which brings us to 'Sadie Thompson.' Just as the battle between Gloria Swanson and Lionel Barrymore is about to reach its climax, the film stops!

And what starts up is a recreation of the final reel through stills, titles, and footage from a later remake.

To me, every time I've seen 'Sadie Thompson,' this feels exactly right. The animosity of the two characters grows so intense, the movie just can't contain it. It's like things are so hot, the film melts, or the story triggers infinity, or something.

And so we're left to visualize the climax on own, and because we all do that in our own individual ways, it has the potential to more terrifying and awesome than anything director Raoul Walsh could have put on celluloid.

So it's a motion picture, yes. But it's also something different. By virtue of its missing final reel, it's a hybrid—a new way of telling stories, really. Or at least a different way of rendering a film's climax.

I like it, and I think it's a technique that today's filmmakers might consider employing.

Well—until that happens, you can catch Gloria Swanson in 'Sadie Thompson' (1928) on Thursday, March 16 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 S. Main St., Plymouth, N.H. Tickets are $10; for more info, call the box office at (603) 536-2551.

Tuesday, February 14, 2017

Post V-Day program: 'The Clinging Vine' (1926)
on Thursday, 2/16 at Flying Monkey, Plymouth

An androgynous Leatrice Joy gets dating advice from grandma in 'The Clinging Vine' (1926).

Just back from London, where I made my accompaniment debut last week with music for 'Salt for Svanetia,' a Soviet propaganda film, at the amazing Kennington Bioscope in Lambeth.

Before the film, I was asked to make remarks. So I couldn't resist: "For those fans of Soviet-era economic plan promotional films, I'm sorry to report that this one has no tractors in it. However, it does have some really great steam roller footage."

I'll post a lot more about the Bioscope when I get photos back from a friend who was there. (I didn't take pics as my phone had died.) But it was a great time and I got to meet a lot of folks in the British silent film community.

And yes, applause broke out when the steam roller appeared!

Coming up: later this week I head out to Sioux City, Iowa to do music on a big old Mighty Wurlitzer for a silent comedy program on Sunday, Feb. 19 at the Orpheum Theatre.

Very much looking forward to that, and would like to publicly thank Rick Mullin and everyone else with the festival for organizing this special presentation.

But first, it's up to Plymouth, N.H. on Thursday to do music for 'The Clinging Vine' (1926), a seldom-screened romantic comedy with a surprising gender-bending premise.

More details in the press release below. But because the screening date for this monthly series fell just after Valentine's Day, we figured it would be a perfect chance to showcase this unusual take on romance and gender stereotypes.

The film will run on Thursday, Feb. 16 at 6:30 p.m. Hope to see you there!

A more traditional publicity shot of Leatrice Joy, silent-era leading lady.

* * *

TUESDAY, FEB. 7, 2017 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Gender-bending comedy 'The Clinging Vine' at Flying Monkey on Thursday, Feb. 16


Uproarious silent film farce about gender stereotypes to be shown with live musical score

PLYMOUTH, N.H.—Tired of Valentine's Day? The Flying Monkey has just the antidote.

It's 'The Clinging Vine' (1926), a silent film comedy that turns traditional gender roles completely upside down.

The movie, starring Leatrice Joy, will be screened on Thursday, Feb. 16 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth.

Admission is $10 per person.

The program will feature live music for the movie by silent film accompanist Jeff Rapsis. The film is appropriate for all ages, making for a unique evening of family entertainment.

Produced by Cecil B. DeMille, 'The Clinging Vine' tells the story of a successful hard-driving female business executive who yearns for romance.

But she's frustrated in love because all men she encounters are intimidated by her ability and intelligence.

After confiding in her wise grandmother, the two set about transforming her into a woman who men will find attractive.

Considered daring for its time, 'The Clinging Vine' continues to earn comments from critics for its story and subject matter.

In a recent online review, author Kevin M. Wentink wrote that "what, on the surface, appears to be a slight romantic comedy that playfully addresses the changing role of women in the postwar jazz age, 'The Clinging Vine' actually flat out states that all men are stupid, really really stupid, in every way imaginable."

"And...even though women are by far superior to men in intellect and business acumen," Wentink wrote, "a woman would be far happier pretending to be dumber, and thus attractive to the Neanderthal, then she would to be a wise and successful spinster."

"An equal opportunity offender of both sexes, 'The Clinging Vine' is one of the most daringly trivial programers to come out of Hollywood in the silent era."

How's that as antidote for Valentine's Day?

Making her film debut as an extra in 1917, actress Leatrice Joy soon graduated to playing opposite comics Billy West and Oliver Hardy. Director Cecil B. DeMille took her under his wing and starred her in several of his films, including 'The Clinging Vine.'

Often playing career girls dressed in mannish suits, or sophisticated society girls, Joy is generally credited with starting the bobbed-hair craze in the 1920s.

In an early celebrity wedding, Joy she married superstar John Gilbert in the 1920s.

She retired shortly after the advent of sound, but made occasional appearances in small supporting roles over the years. She died in 1985 at age 91.

Accompanist Jeff Rapsis specializes in creating live musical scores for films made prior to the introduction of recorded sound. Based in New Hampshire, Rapsis specializes in improvising music for silent film screenings at venues ranging from Harvard University in Cambridge, Mass. to the Niles Essanay Silent Film Museum in San Francisco, Calif.

Rapsis creates film scores in real time, as a movie is running, using a digital synthesizer to reproduce the texture of a full orchestra. He averages about 100 performances per year, and has created music for more than 250 different silent feature films.

"Improvising a movie score is a bit of a high wire act, but it can result in music that fits a film's mood and action better than anything that can be written down in advance," Rapsis said. "It also lends a sense of excitement and adventure to the screening, as no two performances are exactly alike."

'The Clinging Vine' is the latest in a monthly series of silent films presented with live music at the Flying Monkey. The series provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in good-looking prints, with live music, and with an audience.

Rapsis said it's currently a new golden age for silent film because so many titles have been restored, and are now available to watch at home or via online streaming.

However, the Flying Monkey series enables film fans to really understand the power of early cinema, which was intended to be shown on a big screen, with live music, and with an audience.

"Put those elements together like we do at the Flying Monkey, and films from the silent era spring right back to life in a way that helps you understand why people first fell in love with the movies," Rapsis said.

Upcoming silent film titles at the Flying Monkey include:

• Thursday, March 16, 2017, 6:30 p.m.: 'Sadie Thompson' (1928) starring Gloria Swanson, Lionel Barrymore. Intense drama of a "fallen woman" who comes to an island in the South Seas to start a new life, but encounters a zealous missionary who wants to force her back to her former life in San Francisco.

• Thursday, April 13, 2017, 6:30 p.m.: 'King of Kings' (1927) directed by Cecil B. DeMille. Just in time for Easter: Cecil B. DeMille blockbuster includes crucifixion scene complete with earthquake, landslides, and a cast of thousands.

• Thursday, May 18, 2017, 6:30 p.m.: 'Speedway' (1929) starring William Haines, Ernest Torrance. Fasten your seat belts! We mark the traditional Memorial Day running of the Indianapolis 500 with a vintage race car drama filmed right on the famed track—at speeds topping 115 mph!

‘The Clinging Vine’ (1926) will be shown on Thursday, Feb. 16 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H. Admission is $10 per person. For more info, call (603) 536-2551 or visit www.flyingmonkeynh.com. For more info on the music, visit www.jeffrapsis.com.

Monday, February 6, 2017

This week: making my London debut
plus Buster Keaton on 2/12 for Valentine's Day
and a story of sheet music and '7th Heaven'

Comrades! Dear Leader requests that you enjoy this screen capture from 'Salt for Svanetia.'

This weekend I hop across the pond to London, where I'll make my U.K. debut as a silent film accompanist.

I'd say "European" debut, but I'm not quite sure if Britain is still included in that category.

Well, Europe or not—the show is Wednesday, Feb. 8 at 7:30 p.m. at the Kennington Bioscope, a venue within London's Cinema Museum where silent films are regularly screened.

Screenings are free and open to the public, but one apparently needs an invitation to attend. For more info, visit www.kenningtonbioscope.com.

And the film I'm accompanying is...'Salt for Svanetia' (1930), a Soviet propaganda film about how a remote mountain village benefits from the wonders of Stalinist socialism!

People laugh when I describe this film, but it's actually an important film in terms of how it uses the then-new medium of cinema to communicate a powerful message.

From 'Salt for Svanetia.'

I'm not sure how much of my usual fan base will make it to London this week, but the Kennington Bioscope screenings are well known in the vintage film community.

No less a figure than Kevin Brownlow often participates in the programming. And now...me!

But I must thank Amran Vance and everyone in London's silent film scene for the invitation to sit in at the Bioscope, which has its own roster of regular accompanists.

In fact, someone else (not sure who) will handle the first half of the evening, which is highlighted by a cut-down three-reel version of 'Tales of 1001 Nights' (1921), a British adaptation of the Scheherazade story.

The edition survives only in the obsolete 9.5mm film gauge, and that's what we'll be seeing.

For me, the only worry is that the screening is in the evening of my first day in London, so I have to be smart about managing the inevitable jet lag after an overnight trans-Atlantic flight.

But if jet lag ultimately claims me before the opening titles of 'Salt for Svanetia,' it's comforting to know there's no shortage of accompaniment talent at the Bioscope.

Speaking of air travel and accompaniment: the same thing happens on the way back to Boston on Sunday, Feb. 12.

We're supposed to arrive mid-afternoon. And that evening at 7 p.m., I'm scheduled to accompany Buster Keaton's 'Seven Chances' (1925) in a Valentine's Day screening at the Aeronaut Brewery in Somerville, Mass. More info about that screening in the press release posted below.

Playing on Sunday, Feb. 12 at 7 p.m. at the Aeronaut Brewing Co., Somerville, Mass.

So after we land and (I hope) clear customs and immigration, I'll stay in Boston (instead of heading to N.H.), where I'll have dinner at my favorite Peruvian restaurant, Macchu Chicken in Union Square. And then I'll head over for the Buster show at the Aeronaut, where my keyboard and sound gear (and suit jacket, too!) are already packed away in a storage area.

I actually went down last night to drop my stuff at the Aeronaut, which was in the midst of a big Super Bowl party. At the time I came through, the Pats were down 21-0 and everyone was looking kinda glum. Would have loved to see the place about two hours later!

I drove down to Somerville following a really nifty screening of '7th Heaven' (1927) at the Town Hall Theatre in Wilton, N.H.

I say 'nifty' no only because the music came together quite effectively, I thought, but also because of some sheet music!

Last fall, a woman approached me after screening in Wilton and gave me sheet music she'd found for 'Diane,' a tune by Ernö Rapée (that's him on the right) released when '7th Heaven' was playing in theaters.

Diane was the name of Janet Gaynor's character in the film, and also this woman's name. (I can't recall if she had been named in connection with the character, but I think that's the case.)

At the time, Diane asked if it was possible to program '7th Heaven' at the Town Hall Theatre, and for me to use the sheet music in accompanying it.

Why? Because, I recall, her parents often spoke of the film when she was a girl. That was a long time ago, and her parents were now long gone, and she'd never had a chance to see it.

Charles Farrell as Chico and Janet Gaynor as Janet in '7th Heaven.'

Well, we aim to please! I put '7th Heaven' on the schedule as our "pre-Valentine's day tear-jerker." I also Rapée's sheet music on my piano, where I started getting it in my head and under my fingers.

So yesterday, in introducing the film to the Super Bowl-reduced audience, I mentioned all this, but didn't see the woman who had given me the music.

That is, until she raised her hand, which was right under my nose: turns out she was sitting in the front, directly behind me!

As I mentioned, I thought the screening went well overall. So did she, evidently—afterwards, she came up and gave me a big, prolonged hug!

Speaking of prolonged hugs, here's the press release for our Valentine's Day screening of Buster Keaton's 'Seven Chances' (1925) on Sunday, Feb. 12 at 7 p.m. at the Aeronaut Brewing Co. in Somerville, Mass. See you there. And XO!

* * *

Buster and his co-stars in 'Seven Chances.'

MONDAY, FEB. 6, 2017 / FOR IMMEDIATE RELEASE
Contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Buster Keaton comedy 'Seven Chances' (1925) on Sunday, Feb. 12 at Aeronaut Brewery


Valentine's Day celebration features classic silent film romantic farce with live music

SOMERVILLE, Mass.—When words aren't enough, why not let a silent movie do the talking?

That's the idea behind a Valentine's Day silent film program on Sunday, Feb. 12 at 7 p.m. at the Aeronaut Brewing Co., 14 Tyler St., Somerville.

'Seven Chances' (1925), a classic Buster Keaton romantic comedy, will be shown with live music by silent film accompanist Jeff Rapsis.

The program includes a Keaton comedy short preceding 'Seven Chances,' one of Keaton's classic full-length feature comedies.

Admission is $10 per person. Tickets are available online at www.eventbrite.com; search on "Aeronaut Brewery."

Acclaimed for their originality and clever visual gags, Keaton's films remain popular crowd-pleasers today.

Keaton never smiled on camera, earning him the nickname of "the Great Stone Face." But his comedies rocked Hollywood's silent era with laughter throughout the 1920s.

In 'Seven Chances,' adapted from a stage play, the story finds Buster about to inherit $7 million if he's married by 7 p.m. on his 27th birthday—which is that very day!

Buster's hurried attempts to tie the knot go awry, but then a newspaper story changes the game, creating an avalanche of would-be brides who chase Buster as he searches for his one true love before the deadline.

'Seven Chances' was the first screen adaptation of the now-familiar story, since used in movies ranging from the Three Stooges in 'Brideless Groom' (1947) to Gary Sinyor's 'The Bachelor' (1999) starring Chris O'Donnell and Renee Zellwinger.

The screening is part of the Aeronaut's commitment to give local artists and audiences a chance to connect in the brewery's performance space.

"We envision our pre-Valentine's Day event as a throwback to the days when people celebrated by getting together as a community," said Christine Platzek of Aeronaut, a craft brewery that opened in 2014.

Just as beer aficionados appreciate a good hand-crafted brew, movie-goers are rediscovering the joys of silent cinema presented as it was intended: on a big screen, with live music, and with an audience.

"If you can put all the original elements together, the films of early Hollywood still come to life," said Rapsis, a silent film accompanist who performs frequently at the Aeronaut. "These are the films that caused people to first fall in love with the movies."

Buster Keaton stands today as one of the silent screen's great clowns. Some critics regard Keaton as the best of all; Roger Ebert wrote in 2002 that "in an extraordinary period from 1920 to 1929, (Keaton) worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."

As a performer, Keaton was uniquely suited to the demands of silent comedy. Born in 1895, he made his stage debut as a toddler, joining his family's knockabout vaudeville act and learning to take falls and do acrobatic stunts at an early age.

A remarkable pantomime artist, Keaton naturally used his whole body to communicate emotions from sadness to surprise. And in an era with no post-production special effects, Keaton's acrobatic talents enabled him to perform all his own stunts, including some spectacular examples in 'Seven Chances.'

"We felt a vintage silent film program with live music would be a great way to create Valentine's Day memories," Platzek said. "We encourage everyone to join us, whether you're on a date or on your own. We'll all end up laughing together!"

'Seven Chances' (1925) starring Buster Keaton will be shown on Sunday, Feb. 12 at 7 p.m. at the Aeronaut Brewing Co., 14 Tyler St., Somerville, Mass. Admission is $10 per person. Tickets are available online at www.eventbrite.com; search on "Aeronaut Brewery." For more info about Aeronaut Brewing, visit www.aeronautbrewing.com. For more information about the music, visit www.jeffrapsis.com.

Below are the links to the Facebook page and EventBrite page:

https://www.eventbrite.com/e/buster-keaton-silent-film-screen-w-live-music-tickets-31412761415
https://www.facebook.com/events/1205402839513571/